The massive Basilica di Santa Maria del Fiore, commonly referred to as the Duomo, and
associated structures, comprise the spiritual center of Florence, and their lengthy
and eventful construction contributes a significant piece to the history of art and
architecture. The Duomo itself is 502 feet long and 295 feet wide at its widest. On
top of the Duomo is the world's largest masonry dome (more than 143 feet in diameter),
which has occupied its position, basically unchanged, since 1436. The dome, with its
surmounting lantern, rises to a height of 375 feet. The elaborate (some have said
excessively elaborate) façade wasn't added until the late 19th Century.
The Dome
The Façade
The Façade
The multicolored marble used on the façade was selected to coordinate with the
detached campanile standing next to the Duomo. This campanile is 276 feet tall,
and was completed in 1359. Across from the Duomo is the large, octagonal
Battistero di San Giovanni, or Baptistery of St. John. The baptistery was
completed in 1128, replacing an earlier baptistery which had stood on the same
spot since the 9th Century or earlier. Decorating the baptistery are a number
of statues, as well as bronze doors which are masterworks of the genre.
The Campanile
The Baptistery
Work on the Duomo began in 1296, according to a design by Arnolfo di Cambio, and
continued for the ensuing century. The artist Giotto, named to head the project in
1334, designed the campanile, which was completed more than 20 years after his death.
A design for the dome, which had been vague up to this point, was submitted in 1367
by Neri di Fioravante. The design called for the largest dome that had ever been
built, octagonally sectioned and with no external buttressing (common in Gothic
architecture) to support it. Everyone loved the design, but hadn't a clue as to how
to build it. The only existing dome approaching this size was that of the Pantheon
in Rome (more on this when we get to Rome). Nobody knew how the ancient Romans had
done it, but it had obviously included the liberal use of concrete, a material whose
formulation had died along with them. Not quite knowing what to make of the problem,
those in charge (the Guild of Wool Merchants) did what bureaucrats have always done –
they put it off until later, possibly hoping it would go away, but definitely making
sure that it would be someone else's problem.
Jumping ahead to 1401, the Wool Merchants, still in denial about the dome, decided
the baptistery needed a new set of bronze doors, with 14 panels per door, each
depicting a scene from the Old Testament. A competition was announced in which
artists were to submit a panel depicting the Sacrifice of Isaac, and a panel of 34
judges would award the commission to the artist whose panel was judged to be the best.
The two finalists were two young goldsmiths named Lorenzo Ghiberti and Filippo
Brunelleschi.
Lorenzo Ghiberti (left)
Filippo Brunelleschi
Ghiberti and Brunelleschi didn't like each other very much, and the ensuing years
would not bring any improvement to this situation, but as events unfolded, they would
find each other unavoidable, pretty much for the remainder of their careers.
Ghiberti's creative process for the 1401 competition was to show his progress to other
artists, several of whom were on the panel of judges, and solicit and include their
suggestions. He'd mastered the difficult art of bronze casting, and was able to
produce his submission as a single piece. Brunelleschi, on the other hand, was very
secretive with his work, a pattern he would follow throughout his career. His
technical ability with the casting was probably not as advanced as Ghiberti's, and his
submission came in multiple pieces. However, the artistic quality of his submission
was such that the judges found themselves with a very difficult choice. Their
eventual conclusion was to award the commission to Ghiberti, with Brunelleschi to
assist.
Brunelleschi responded by leaving for Rome in a huff, where he spent much of the next
15 years. Ghiberti was left to complete the commission on his own, though he had some
talented help in his workshop, which included the young Donatello. In Rome,
Brunelleschi did a lot of goldsmith work, as well as some clockmaking, and in his
spare time studied architecture, particularly of the ruins remaining from the ancient
Romans. Ghiberti and workshop worked on the doors (which the Wool Merchants had
decided would depict New Testament scenes instead) for the next 21 years, finally
producing two beautiful doors which were promptly installed on the baptistery. The
doors remain in place to this day, though they have been moved from the east side to
the north side of the baptistery, the entrance for most visitors.
Upper North Door
Lower North Door
Resurrection and Pentecost Panels
Flagellation and Jesus Before Pilate Panels
Entry of Jesus into Jerusalem and Last Supper Panels
Chasing the Merchants and Walking on Water Panels
Skipping to 1418, the construction on the Duomo was nearly finished, except for the
Elephant in the Room – the big open space where there was supposed to be a dome.
The Wool Merchants could no longer avoid the issue, so they announced another
competition. Ghiberti, though he was still working on the doors and had limited
architectural experience, had some ideas and entered the competition. And, back
from Rome, so did Brunelleschi. They presented their ideas, with Ghiberti being
vague on the engineering challenges and Brunelleschi being deliberately incomplete
on some of his details, because he didn't want people stealing his ideas. The Wool
Merchants weren't quite sure what to do and dithered for awhile, and instead of
presenting a clear award, eventually told Ghiberti and Brunelleschi to work
together on it.
Ghiberti and Brunelleschi both held their noses and began work, and it quickly
became apparent that Brunelleschi had a much better handle on the job than Ghiberti.
The dome would have to be made from bricks and mortar. Filippo had a great many
bricks cast in a particular way, and devised animal-driven, counterweighted
contrivances to move the bricks up and down between the ground and the great heights
at which the bricklayers would be working. There was not enough wood in all of
Tuscany to build scaffolding to support the dome during construction, so
Brunelleschi had the bricks laid in a herringbone pattern that was self-supporting.
At a critical point in 1426, Brunelleschi, who felt he wasn’t receiving sufficient
respect (and pay), feigned an illness and temporarily turned over full leadership
to Ghiberti. Ghiberti wasn't sure what the next step should be (Filippo was less
than helpful) and had the workers do something which would have been disastrous if
it had been allowed to continue. But then Brunelleschi had a miraculous recovery,
shrieked in horror at what Lorenzo had done, undid all of it and redid it correctly.
After this, Brunelleschi received a raise and Ghiberti's role in the project was
greatly diminished. But Ghiberti still had his hands full, as in 1425, he'd been
awarded another commission for another set of baptistery doors, this time with Old
Testament scenes.
The two artists worked on their respective projects (as well as some smaller ones)
over the next several years, and the dome was completed in 1436. There was another
competition involving both artists for the lantern atop the dome, but Brunelleschi
was the clear winner of this one. He died in 1446, shortly after the start of
construction on the lantern, which wasn't completed until 1461.
The Dome
The Lantern
A commission was awarded in 1469 to Andrea del Verrocchio for a large ball and cross
to be placed atop the lantern. Brunelleschi's hoisting devices were used in the
placement, and an apprentice in Verrocchio's workshop named Leonardo da Vinci
sketched pictures of them, as he thought they were really cool.
In the meantime, Ghiberti toiled for 27 years on the new baptistery doors, and they
were ultimately installed on the east side, facing the Duomo (the previous doors
being moved 90 degrees to the north) in 1452. The new doors only displayed ten
panels, but multiple scenes were shown in each panel. They were revolutionary in
the field of bronzework, making use of the recent rediscovery (by Brunelleschi) of
linear perspective, with a result that was much more three-dimensional than anything
done in bronze to this point. They received rave reviews, with people calling them
"perfect" and the greatest artwork ever. Decades later, no less a critic than
Michelangelo pronounced them fit to be the "Gates of Paradise", a name which has
been applied to them ever since (one can imagine a scene in Heaven, or wherever
Ghiberti and Brunelleschi are, in which Lorenzo elbows Filippo, points and says
"See?").
The Gates of Paradise
The Gates of Paradise
Adam and Eve
Cain and Abel
Noah
Abraham and the Sacrifice of Isaac
Esau and Jacob
Joseph
Moses
Joshua and the Fall of Jericho
David and the Battle with the Philistines
Solomon and the Queen of Sheba
We dropped by the Duomo on two occasions. The first, as mentioned above, was on the
evening of our arrival in the city. Before going to dinner we walked around the
baptistery, admiring Ghiberti's doors. And across the piazza, we were dazzled by the
façade of the Duomo, brilliantly lit by the setting sun. High atop the campanile
next to the Duomo, people could be seen. Connie and I could think of nothing better
than to be two of those people. Philip and Nella, not so much. Unlike the campanile
we'd seen in Venice, this was an original 14th Century structure, and this being the
case, had no elevator. There were hundreds of narrow, dimly-lit steps, though, worn
smooth by centuries of feet. Connie and I paid our 6 Euros apiece and made the
ascent, stopping briefly for breath at two landings/viewpoints on the way up. From
the top there was a gorgeous view of the city.
The Campanile
South Face of Duomo
View Through Campanile Window
A Bell
Bob at the Top
Connie and Dome
Base of Dome
View to Southeast
Dome, Santa Croce Church and Bargello
View Southward
Pitti Palace, Across River
View to Southwest
View to South and Southwest
View to Northwest
It's normally possible to walk to the top of the dome instead (and Connie indicated
a desire to do just that), but there weren't any people on the dome, indicating
that it was probably closed for the day. The dome viewpoint is a little higher
than the campanile, but it costs a couple of Euros more and normally has a longer
and slower line. And from the top of the dome, you don't really get a very good
view of the dome itself. The view from the campanile was more than satisfactory.
Our second visit to the Duomo was on the following morning – the Duomo itself had
been closed the previous evening, so we took this opportunity to explore the
interior. As one would expect, the church is cavernous, but the ornamentation is
surprisingly subdued when compared to other Italian churches, especially those of
this significance. Subdued but not absent, as there are paintings, stained glass
and a liturgical clock which has been running for hundreds of years.
Inside the Duomo
Dante and the Divine Comedy, Domenico di Michelino (1465)
Liturgical Clock
Stained Glass
Main Altar
More Stained Glass
Connie and Candle Holder
There is also a colorful fresco large enough to cover the inner surface of the dome.
This fresco, The Last Judgment, covers more than 38,000 square feet and was
painted from 1568 to 1579 by Giorgio Vasari and Federico Zuccari. The two artists
used two different fresco techniques (true fresco vs. in secco), and there
are those who have said the difference fragments the work, but we didn't notice
anything. But we didn't have that great a view, either, as people were fenced off
from the spot directly beneath the dome.
Altar and Dome Fresco
Dome Fresco, Vasari & Zuccari (1568-79)
Entry to the Duomo is free, but for a small fee one can visit the crypt, the final
resting place of a number of bishops, as well as of Filippo Brunelleschi. For
hundreds of years, nobody knew where Brunelleschi was buried, but his simple tomb
was discovered here during excavations in 1972.
From the Duomo we headed south and east, looking for a church with prestigious
tombs aplenty: the Santa Croce Church.